CMA

From the Director

Dear Members,

Cleveland always looks beautiful in the spring. This year the city shows itself off inside the mu- seum as well, as Transformations in Cleveland Art, 1796-1946 opens to the public May 19 (Saturday night the 18th to our members). This first major museum survey of the evolution of the visual arts in Cleveland was inspired by the occasion of the city’s 200th birthday. Curators William Robinson and David Steinberg have collaborated on this project from its inception and, with the participation of several col- leagues, have organized a fascinating show and written an important companion catalogue.

The exhibition offers diverse pleasures. The works of art, which we have borrowed from museums and private collections around the country, supply one eye-opener after another, from unexpected preindustrial views of famil- iar sites to surprising expressions in a wide va- riety of artistic styles. What emerges is a por- trait of a city that provided a home for artists of diverse backgrounds and inspired a remark- able range of talents. For history buffs, the show provides a unique overview of the history of the city as seen through the eyes of its artists. Our gratitude to the law firm of Hahn Loeser & Parks, who have sponsored the exhibition in honor of the firm’s 75th anniversary.

Most of the Cleveland art show programs will take place during June and July as part of the traditional Wednesday Evening Festivals. But one series of lectures begins on May 19. Prominent Cleveland historians Bob Rich, Walter Leedy, and John Grabowski discuss the city’s history on Sunday afternoons at 3:00.

May also sees the build-up to Parade the Circle, copresented by the museum and Uni- versity Circle Incorporated. This year’s parade is Saturday, June 8, and we offer an array of workshops to help you get ready to march, if you're so inclined. Last year some 1,500 people participated, and more than 25,000 spectators thronged the route. Check the programs section for details on workshops. Thanks once again to the parade’s sponsors, Metropolitan Savings Bank, the George Gund Foundation, and the Ohio Arts Council.

In addition, May marks the beginning of the phone campaign for the Annual Fund. Gifts to the fund support the very fabric of the mu- seum—education programs that serve toddlers to seniors, collection care that ensures longev- ity for great works of art, and the free public ac- cess that has become rare. When our Annual Fund caller contacts you, please be generous!

Finally, thanks to everyone who so enthu- siastically supported the Pharaohs exhibition. The museum proudly welcomes the more than 2,500 new members who joined our ranks dur- ing Pharaohs, a record number for a major membership campaign. The family—now 18,000 strong—continues to grow!

Sincerely,

lock

Robert P. Bergman, Director

——

Artist-in-residence Lyneise Williams at work on a float for Parade the Circle.

A Fresh Look at Cleveland Art

TRANSFOR- MATIONS IN CLEVELAND ART, 1796-

1946

May 19-July

21, 1996

MAY 1996

eG e have a painter in this city who

can’t be beat. He paints white

oak panels, etc. so curiously that

they exceed in transparency the best crown glass... . In a battle scene, he de- lineated a cannon with such fidelity that it went off one night, taking the whole piece with it, and has not been heard of since.” Published in the Cleveland Herald in 1847, when the town had only a handful of artists, this report about a fictitious painter demonstrates the hold that art had on Clevelanders’ imaginations. The story of the relationship between their ideals for art and the beautiful, poetic creations that local artists actually made is, in short, Cleveland’s art history.

The first-ever museum survey of this his- tory, Transformations in Cleveland Art, 1796- 1946 is one of four special exhibitions the mu- seum has organized to honor the city’s 1996 bicentennial. Originally, the show was to exam- ine only painting, but research quickly demon- strated the many interconnections among art- ists working in other media. So, the focus ex- panded to include sculpture, photography, prints, and decorative arts, and specialists in these fields were brought on board. The exhi- bition and its accompanying catalogue aim to make substantial contributions to understand- ing the history of Cleveland’s creativity.

The initial task for the research team was

to outline the object of study. After the opening of the Erie Canal in 1825 and the Ohio & Erie Canal in 1832, Cleveland evolved from a town into a city. After mid-century, it became the center of a wide cultural and economic area. Places as far west as Sandusky, south as Akron, and east as Painesville were drawn into its or- bit. Over the course of the history of Cleveland art, many artists born elsewhere have come to interpret the local scene, while others born here took advantage of art schools in other American cities and abroad. Thus, local art history has often intertwined with national and international movements, and the project’s goal was to keep this broader picture in mind while seeking to understand the significance of Cleveland productions. As in other cities, the pendulum of taste has swung back and forth. The conservative figural painting of the 1870s gave way to radical abstract experiments in the 1910s, which in turn fostered a reaction and a return to naturalism in the 1920s.

The project team soon began probing the relationship between the particular character of local art and the specific events that gave rise to it. Fantastic increases in industry and wealth after the Civil War spurred the founding of schools for drawing, painting, and design. These and later institutions helped members of

Otto Bacher came back to his home town of Cleveland after years of study in Munich and within months set up a coed summer painting colony in Richfield. He worked on Ella's Hotel, Richfield, Ohio for almost two years before returning to Europe (1883-85, oil on canvas. Private collection).

This exhibition has been sponsored by Hahn Loeser & Parks, with additional support from the Ohio Arts Council.

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immigrant and migrant groups, including Germans and Irish in the 19th century and African-Americans in the 20th, integrate into Cleveland. Particular attention was paid to the composition of the city’s di- verse communities and to the characteristic patterns by which they generated and made use of works of art. These goals coincided with an impossibly ambitious project of locating every work of art made by artists either in Cleveland or affili- ated with the city through ties of birth and residence. Artists’ descendants and families offered invaluable assistance, generously opening their homes and offering introductions to net- works of friends and relatives. This procedure brought to light a double-sided painting by Cleveland-raised William Zorach, which he painted after falling under the spell of Matisse and his exuberant design sensibility. The trea- sure trove that is the Western Reserve Histori- cal Society also proved an essential resource. Since its founding in 1867, the society has ac- quired local paintings as documents of the city’s history, holdings that constitute the most important collection for understanding the be- ginnings of the city’s art history. In addition, collectors, dealers, and auctioneers of fine art in the Midwest were unfailingly helpful in mak- ing relevant works of art available for study and loan. Otto Bacher’s strikingly composed and

brilliantly colored Ella’s Hotel, Richfield, Ohio was virtually unknown when it was acquired by its current owner in 1980, but its visibility since that time has made it a key work for un- derstanding how Ameri- cans depicted light prior to the importation of French impressionism.

Finally, a survey of com- mercial gallery holdings as well as private and public collections across the coun- try led to many prize finds. Only when trying to detect works made in Cleveland does a painting like The Young Mechanic by Allen Smith, Jr., appear in its proper historical light. Oth- erwise it hangs without any tell-tale signs about its re- gional origins among other American genre paintings at the Los Angeles County Museum of Art. Similarly, The Monkey Picture by Henry Church, Jr., appears with works by amateur artists from all over the country in the Abby Aldrich Rockefeller Folk Art Collection. Ac- quired for its intriguing subject matter and in- genious design, the painting nonetheless gains in expressive value when interpreted in terms of local events. Both the urban cop in pursuit and the cage to which he seeks to return the monkeys had topical significance when Church, a lifelong resident of rural Chagrin Falls, conceived his subject, for it was first in the 1880s that a zoo was built in the city of Cleveland.

Local concerns in the 1840s about a grow- ing rift between social classes found expres- sion in The Young Mechanic, an allegori- cal genre scene by Allen Smith, Jr., that depicts the halting negotiations between a manual worker and a potential client (1848, oil on canvas. Los Angeles County Museum of Art, gift of the American Art Council and Mr. and Mrs. Douglas Pardee).

Henry Church, Jr., poked fun at the con- ventions of still-life painting by unleash- ing two banana- pursuing monkeys in The Monkey Picture (ca. 1888, oil on paper mounted on cloth. Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia). In deliber- ately violating the customary ways to present scale and space, Church posi- tioned himself as an artist who worked outside established ideas about art.

Winner of a prize in the 1930 May Show, this screen was loaned to Severance Hall in the 1980s, where it found a fitting, if temporary home among that building’s art deco ap- pointments (Rose Iron Works, designer Paul Feher, “Art Deco” Screen, 7930, wrought iron and brass with silver and gold plating. The Rose Family Collection).

MAY 1996

Concurrent with the process of searching for works of art, the research team undertook a two-year program of studying primary and sec- ondary sources. Again, the Western Reserve Historical Society proved invaluable in illumi- nating the histories of local collections and art institutions. Such resources as the Ohio Artists Project at Oberlin Col- lege, the Cleveland In- stitute of Art, and the Cleveland Artists Foun- dation were also impor- tant. The variousarchives consulted yielded news- paper articles, letters, diaries, memoirs, cen- sus records, and estate inventories that helped the team track down specific information on specific works of art.’

One result of this effort has ark to reba lenge some of the generalizations that have re- peatedly appeared in broad surveys of art made in Cleveland. For example, historians have of- ten claimed that local artists enjoyed local pa- tronage, but it appears there was less direct subsidy than has previously been thought. A work like the art deco screen made by the Rose Iron Works, for example, came into being as a tour de force display piece to demonstrate the 6

firm’s manufacturing talents as well as the skills of designer Paul Feher. Not only indus- trial artists, but also painters and graphic art- ists often worked in commercial industries such as lithographic printing to support themselves as they pursued fine arts in their off hours. The art zt ASE of Cleveland has been so little defined at a na- tional level that it has @ thus far been practi- cally invisible. In the course of the research, museum curators and ; commercial dealers _ across the country were regularly sur- prised to find that they had works in their col- lections connected with Cleveland. One of the . side effects of re- seared ne show, then, has been to raise awareness of the contributions of local art to national art history. With the opening of the Cleveland art show, the richness of the city’s visual traditions will be acknowledged at home.

@ William Robinson, Assistant Curator, Modern Art David Steinberg, Assistant Curator, Paintings

Clevelanders were “amazed and bewil- dered” when William Zorach exhibited modernist composi- tions like this after his return from Paris (Untitled [Summer], 1914, the back of a double-sided canvas. The Jamee and Marshall Field Collection).

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Acquisition

he Khmer Empire flourished in Southeast Asia from the 6th through the 13th centuries. Largely formed by Indian influences, the Khmer civilization’s greatest achievements were in architecture and sculpture. The early phase of Cambodian art (6th to 9th centuries) is known as Preangkorean, and the later period (late 9th to 13th centuries) is referred to as Angkorean, when the area of Angkor became the capital of the empire. During that time numerous spectacular monuments were built, both Buddhist and Hindu, each pro- fusely decorated with figural sculpture, both bas-relief and fully three-dimensional. The museum’s newly acquired sandstone torso is a dramatic example of Angkorean figural sculp- ture. Monumental works of the period are rare, and few have survived intact. Early Angkorean male figures in the Koh Ker style (second quarter of the 10th century) wear a sampot (pleated garment) with an over-

hanging fold in front and a double-anchor pen- dant, although such garments are also depicted in the Khleang style (second half of the 10th century). Like the sculptures in the Khleang style, the body proportions of Cleveland’s new male deity are elongated when compared with works in the Koh Ker style. Thus, the new male deity may be a tran- sitional work. Without a head, de- termining the iconography of the image is difficult, yet the two arms suggest either Siva, the principal Hindu creative and destructive god, or a deified king. The scale of the sculpture, however, indicates Siva as the more likely candidate.

The addition of this male torso to the museum’s works from the Khmer Empire gives visitors a more complete picture of this singu- lar, greatly admired period of Cambodian art.

MM Stanislaw J. Czuma, Curator, Indian and Southeast Asian Art

A Cambodian Male Deity

This 10th-century sandstone head (Cambodia, Koh Ker style, h. 38 cm, pur- chase from the Dudley P. Allen Fund 1923.95) is comparable in scale to the new male deity. Originally, the head may have belonged to an image of Siva or a deified ruler. Because it does not have the third eye on the fore- head, one of Siva’s attributes, the iconog- raphy is uncertain.

While Khmer sculpture is fre- quently rigid and static, this male deity seems to be striding (Cambodia, Koh Ker-Khleang style, 2nd-3rd quarter of the 10th century, sandstone, h. 135 cm, purchase from the J. H. Wade Fund 1994.202). His left leg ad- vances forward, and, while subtle, the resulting sway of the torso creates the impression of movement. The torso was ex- ecuted with great sensitivity, with careful demarcation of the pectoral muscles, collar bone, and flesh folds around the navel and stomach.

MAY 1996

Collections

Cleveland Collectors a Century Ago

AN UNEXPECTED TREASURE

LEONARDO—NOT LEONARDO

William Bouguereau’s painting Rest (oil on canvas, 164.5 x 117.5 cm, Hinman B. Hurlbut Collection 432.1915), bought by Hinman Hurlbut in 1879, ts typical of the realistic academic painting preferred by rich Americans in the late 1800s, which fell out of favor as impressionism became popular. Today Rest is of the collection’s cherished works.

s the Cleveland Museum of Art cel- ebrates the city’s bicentennial with a survey of art created in Cleveland, it is also fascinating to examine the kinds of art its residents collected. Like many midwestern cities, Cleveland’s economy grew at a tremendous pace with the industrial develop- ment that accompanied the Civil War, and rich industrialists and entrepreneurs began avidly buying European and American paintings for their elegant houses. In lieu of a museum, art exhibitions showed off paintings from local col- lections as well as works that could be pur- chased from East Coast art dealers. The stag- gering popularity of the exhibitions of 1878 and 1894 led to the foundation of the Cleveland Museum of Art. Cleveland’s first important collector, Hinman B. Hurlbut, was a lawyer, banker, and

In the late 19th century, this painting (Virgin and Child, about 1500, oil on wood, 41.5 x 30.1 cm, gift of Mrs. L. E. Holden 1916.779) was thought to be the work of Leonardo da Vinci and the only painting by the Renaissance master in the United States. By 1913, however, scholars realized that it was a work of a pupil.

railroad executive. He and his wife traveled through Europe in the late 1860s and began to collect paintings by living artists. At his death in 1884, Hurlbut left his entire collection and estate to found an art museum, but only pains- taking coordination with other estates led to the opening of the museum in 1916.

Liberty Holden owned the Cleveland Plain Dealer at the turn of the century and helped found the art museum. In 1883 his wife, Delia, persuaded him to buy a collection of 50 early Italian paintings that had been assembled by the amateur scholar and adventurer James Jackson Jarves. This was Jarves’s second col- lection of Italian primitives, the first having been sold to Yale University to pay off a loan. The collection was installed in a special gallery built on the Holden estate in Bratenahl, which still survives, and a catalogue was printed for

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the use of visitors. In 1916 the Jarves-Holden group was given to the museum, where it was installed in a gallery designed to echo an Italian palazzo (today gallery 215).

Alfred Atmore Pope moved to Cleveland when he was 19 and proceeded to make his fortune in wool and steel. Pope was one of the pioneering American collectors of impression- ist art. He purchased ma- jor examples by Degas, Manet, Monet, Renoir, and Whistler. Pope moved to Connecticut to be near his daughter in 1900, and his collection re- mains in his Connecticut house, today the Hill- Stead Museum.

Jeptha H. Wade was the grandson of Jeptha

A MONET FOR THE MUSEUM

Chavannes are now in the museum’s collec- tions. In addition, Wade helped the museum purchase numerous other important pictures. On his travels around the world, Charles Olney amassed a collection of 264 paintings and a huge number of objects. To his house on Jennings Avenue (today West 14th Street in the Tremont district) he added a gallery that was opened to the public as the “Cleveland Mu- seum” in 1893. This ex- periment, Cleveland’s first art museum, was short lived; Olney died in 1903 and left his col- lection to Oberlin Col- lege. Most of his paint- ings were sold over the years, although several fine American still lifes

Wade, a portraitist and one of the founders of Western Union. The younger Wade enthusi- astically supported Uni- versity Hospitals, the Western Reserve Univer- sity, and the Cleveland School of Art. He gave the land for the Cleve- land Museum of Art and eventually his entire collection. Wade’s interest in impressionism and post-impressionism must have been in- spired by Alfred Pope, especially since Wade bought many of the same artists and types of paintings as Pope did. Wade’s magnificent ex- amples by Cassatt, Degas, Monet, and Puvis de

public in 1916.

CLEVELAND LOSES A LANDSCAPE

This painting of haystacks in the snow by Claude Monet (oil on canvas, Hill-Stead Museum) was bought by Alfred Pope immediately after it was painted in 1889. However, Pope took his collection with him when he moved to Connecticut in 1900.

Jeptha Wade bought this painting by Claude Monet, The Gardener's House at Antibes (7888, oil on canvas, 66.3 x 93 cm, gift of Mr. and Mrs. J. H. Wade 1916.1014), in 1893 and gave it to the art museum shortly after it opened to the

and landscapes remain, including works by Thomas Cole, Jasper Cropsey, and John Kensett.

Though the city was also the home of several smaller collections, those of Hurlbut, Pope, Holden, and Wade were Cleveland’s most significant in 1896. They established the model for later collectors like John Severance, Leonard C. Hanna, Jr., Frank Ginn, and Noah Butkin, whose personal tastes are reflected in the museum’s collection.

@ Alan Chong, Associate Curator, Paintings

CLEVELAND’S FIRST ART MUSEUM

One hundred years ago, the only art museum in town was Charles Olney’s private collection in Tremont. In this specially built gallery, laden with paintings, objects, and bric-a-brac, Olney himself talked to groups from local factories and schools.

The Lovers &

sas ah |

v Au Revoir Les Enfants

ne Ce a,

Film: Au Revoir Louis Malle

When one thinks of French filmmaker Louis Malle, who died last November at age 63, one thinks first of the tenderness, equanimity, and compassion with which he drew his screen characters. But beneath his warm-fuzzy sur- face beat the heart of a true subversive. From the guilt-free adultery in his second film, The Lovers (which caused a brouhaha that went all the way to the U.S. Supreme Court when it opened at the Heights Art Theatre in Cleve- land Heights), to his depiction of a child as a sex object in his first American feature, Pretty Baby, Malle skewered complacency in film after film. Who else would have made a charming comedy about incest (Murmur of the Heart), an anarchic tale of a foul-mouthed 11- year-old and her drag-queen uncle (Zazie), or a pre-Leaving Las Vegas account of an alcoholic’s slide toward suicide (The Fire Within)? In My Dinner with Andre, Malle dis- carded the conventions of feature filmmaking for a one-set, two-character talkfest that was both gripping and cinematic.

Malle began his directorial career with the jazzy, New Wavish thriller Elevator to the Gallows (1958). By the time of Atlantic City

MAY 1996 10

(1980) and Au Revoir les Enfants (1987), his style was more fluid than flashy and he had matured into an astute observer of the human condition as well as a formidable “actor’s di- rector.” We pay tribute to Malle this month with screenings of the nine films mentioned

here, which rank among his very best. Admis- sion $4, CMA members $3.

Cleveland Silver Images Film Festival Opening The museum is pleased to host the opening of the first Cleveland Silver Images Film Festival, May 30—June 1, at locations around town. Dedicated to “celebrating life” through positive images of older people, the three-year-old festival originated in Chicago and now makes its first (and only) appearance outside the Windy City. The festival is a joint project of the museum, the Cleveland Cinematheque, the Cleveland Film Society, Fairhill Center for the Aging, and Terra Nova Films and is presented with support from University Hospitals of Cleveland. Admission to the 1:30 festival opening on Thursday the 30th, including three short films and a post- screening reception, is $5, $4 CMA members.

1 May/Wednesday

Noontime Recital 12:00 Bruce Shewitz, organ

Gallery Talk 1:30 Sets and Series: Five Centuries of Master Prints. Sabine Kretzschmar

Drop-In Parade Workshops 6:30-9:30. Artists help you make masks, costumes, floats, and giant puppets using a variety of mostly recycled materials. For a one-time fee of $35/family, $15 individual, attend as many drop-in workshops as you like

Film 7:30 Elevator to the Gallows (France, 1958, b&w, subtitles, 90 min.) directed by Louis Malle, with Jeanne Moreau and Maurice Ronet. A man and his mistress try to bump off her rich husband. Improvised Miles Davis score. $4, $3 CMA members

2 May/Thursday

First Thursday Curatorial consultation for members only, by appointment Highlights Tour 1:30 CMA Favorites Gallery Talk 2:30 Sets and Series. Sabine Kretzschmar

3 May/Friday Highlights Tour 1:30 CMA Favorites

4 May/Saturday

All-Day Drawing Workshop 10:30-4:00. Register by Friday the 3rd; call ext. 462. An intensive gallery class for beginning to advanced students. $20 fee includes basic materials and parking. Instructor: Sun-Hee J. Kwon

Drop-In Parade Workshops 1:00-4:00. Fee; see Wednesday the 1st for details Highlights Tour 1:30 CMA Favorites

5 May/Sunday

Gallery Talk 1:30 Sets and Series. Sabine Kretzschmar. Sign language interpreted Film 1:30 The Lovers (France, 1958, b&w, subtitles, 90 min.) directed by Louis Malle, with Jeanne Moreau and Alain Cuny. A bored society wife takes a young lover in this sensuous account of adultery without guilt. ‘Scope print. $4, $3 CMA members Drop-in Parade Workshops 2:00-5:00. Fee; see Wednesday the 1st for details Organ Recital 2:00 Oberlin Conservatory organ students of Karel Paukert

| Music

_ We offer three free Musart Series concerts this month. A unique Organ & Recital on Sunday the 5th features J Oberlin Conservatory organ students of

Karel Paukert. Later that afternoon, § ‘soprano Lauren Wagner and pianist | Frederick Weldy offer a Voice Recital Hy JP of music by Mozart, Wolf, Strauss, Lauren Wagner _ Puccini, Ives, and Gershwin. The fol- lowing Sunday, the 12th, a Chamber Music Concert features Myriad in the final concert of the ensemble’s _ fifth season at the museum, with works by de Falla, Kim, and Saglietti.

And there are five Curator’s Informal Noontime Recitals, one each Wednesday at noon. Bruce Shewitz ___ offers the first (on the Ist); Karel Paukert plays the re-

_mainingfour. _

__ Admission is free, unless otherwise indicated. Com- ___ plete program details appear in the listings. Programs are subject to change. Recorded selections from mu-

- seum concerts air Monday evenings from 10:00 to 11:00 on WCLV (95.5 FM). For information about any of the

preceding programs, please call ext. 282.

The 1996-97 Gala Subscription Series will again feature performances by internationally acclaimed so- loists and ensembles on Wednesday evenings from fall through spring. Watch your mailbox in early June for the 1996-97 concerts brochure.

The annual members meeting of the Musart Society will be Wednesday the 8th in Gartner Audi- torium at 5:30. At 6:00, pianist Eunice Podis offers music and commentary, with refreshments after. For Musart members; call ext. 284 for information.

Fe One

Sa, Brandenburgs in the Afternoon ne & Here’s one of those events around which “ you can organize your whole summer: 4 on Sunday, June 30 at 2:30, the Ober- lin Baroque Performance Institute, un- ) der the direction of Kenneth Slowik, ® performs all six of Johann Sebastian Bach’s Brandenburg Concertos on _ period instruments in one two- hour-plus concert, with an infor- mal preconcert lecture at 1:30. Reserve tickets by phone at & ext. 282 weekdays starting Monday, June 24, or pur- chase them at the door after 1:00. Admission is $10, $8 for stu- dents, seniors, and

Musart Society and CMA members.

Guest Lecture 2:30 Christo and Jeanne- Claude: Wrapped Reichstag, Berlin, 1971- 95 and Works in Progress. The environ- mental artists discuss their work. Tickets $10, $5 CMA members (Museum Store) Voice Recital 3:30 Lauren Wagner, so- prano, and Frederick Weldy, piano. The American singer has won numerous com- petitions, including the Concert Artists Guild New York Competition, and appears frequently throughout North America and Europe. She will perform works by Mozart, Wolf, Strauss, Puccini, lves, and Gershwin

7 May/Tuesday Highlights Tour 1:30 CMA Favorites

8 May/Wednesday

Noontime Recital 12:00 Karel Paukert, organ

Gallery Talk 1:30 “Dig In”: The Archaeol- ogy Camp. Barbara A. Kathman

Drop-In Parade Workshops 6:30-9:30. Fee; see Wednesday the 1st for details Film 7:30 Zazie (France, 1960, color, sub- titles, 92 min.) directed by Louis Malle, with Catherine Demongeot and Philippe Noiret. Spirited, gag-filled adaptation of Raymond Queneau’s “unfilmable” novel Zazie dans le Métro, about a foul-mouthed 1 1-year- old visiting her drag-queen uncle in Paris. $4, $3 CMA members

9 May/Thursday

Highlights Tour 1:30 CMA Favorites Gallery Talk 2:30 “Dig In”: The Archaeol- ogy Camp. Barbara A. Kathman

10 May/Friday Highlights Tour 1:30 CMA Favorites

11 May/Saturday

Drop-In Parade Workshops 1:00-4:00. Fee; see Wednesday the 1st for details Stiltwalking Weekend 1:00-4:00. Two Canadians, Brad Harley and Rick Simon, show you how to walk on stilts. Children must be at least 10 years old and 4% feet tall. Free with other workshop registration, or pay $5/person or $12/family. Stilts be- long to Parade the Circle but may be used for the parade. Interested participants can

make their own stilts later during the work-

shops for a $10 materials fee Highlights Tour 1:30 CMA Favorites

12 May/Sunday

Gallery Talk 1:30 “Dig In”: The Archaeol- ogy Camp. Barbara A. Kathman

Film 1:30 The Fire Within (France, 1963, b&w, subtitles, 108 min.) directed by Louis Malle, with Maurice Ronet and Jeanne Moreau. Masterful chronicle of the last hours of a dissolute, alcoholic playboy spiraling toward suicide. $4, $3 CMA members

Drop-In Parade Workshops 2:00-5:00. Fee; see Wednesday the 1st for details Stiltwalking Weekend 2:00-5:00. See Saturday the 11th for details

Chamber Music Concert 3:30 Myriad. Codirectors Kathryn Brown and Yolanda Kondonassis have programmed works by de Falla, Kim, and Saglietti in the final con- cert of the ensemble’s fifth season at the museum. Principals and members of the Cleveland Orchestra and other talented local musicians perform

14 May/Tuesday Highlights Tour 1:30 CMA Favorites

15 May/Wednesday

Noontime Recital 12:00 Karel Paukert, organ

Gallery Talk 1:30 Japanese Portraits. Joellen DeOreo

Drop-in Parade Workshops 6:30-9:30. Fee; see Wednesday the 1st for details Film 7:30 Murmur of the Heart (France/ Germany/Italy, 1971, color, subtitles, 118 min.) directed by Louis Malle, with Lea Massari and Benoit Ferreux. In this sunny, subversive comedy set in 1954, a teenage boy agonizing over how to lose his virginity finds a solution close to home. Rated R. $4, $3 CMA members

16 May/Thursday

Highlights Tour 1:30 CMA Favorites Gallery Talk 2:30 Japanese Portraits. Joellen DeOreo

Programs

17 May/Friday Highlights Tour 1:30 CMA Favorites

18 May/Saturday

Members Day for Cleveland Art Show 9:00-4:45 (free)

Drop-In Parade Workshops 1:00-4:00. Fee; see Wednesday the 1st for details Highlights Tour 1:30 CMA Favorites Members Party for Cleveland Art Show 8:00—midnight (tickets required; see page 15)

19 May/Sunday

Gallery Talk 1:30 Japanese Portraits. Joellen DeOreo

Film 1:30 Atlantic City (Canada/France, 1980, color, 104 min.) directed by Louis Malle, with Burt Lancaster, Michel Piccoli, and Susan Sarandon. Hoods and dreamers cross paths in late-’70s Atlantic City. Rated R. $4, $3 CMA members

Drop-In Parade Workshops 2:00-5:00. Fee; see Wednesday the 1st for details Slide Lecture 3:00 Cleveland after the Civil War. Bob Rich, historian and Plain Dealer columnist

Trideca Society Lecture 3:00 Martin Eidelberg of Rutgers University, a specialist in 18th-century France and 19th- and 20th- century decorative arts, discusses the work of Cleveland artist Leza McVey, an impor- tant figure in American ceramics immedi- ately after WWII, about whom Eidelberg is soon to publish a book. If you would like to attend this lecture but are not a Trideca Society member, the fee is $18. To become a member, call ext. 413

Family Express 3:00-4:30 Capital Cre- ations. Columns and their capitals tell sto- ries in the galleries and families can create their own capital crown

21 May/Tuesday Highlights Tour 1:30 CMA Favorites

22 May/Wednesday

Noontime Recital 12:00 Kare/ Paukert, organ

Gallery Talk 1:30 Transformations in Cleveland Art. Nancy McAfee

Drop-In Parade Workshops 6:30-9:30. Fee; see Wednesday the 1st for details

Film 7:30 Pretty Baby (USA, 1978, color, 109 min.) directed by Louis Malle, with Brooke Shields, Keith Carradine, and Susan Sarandon. A photographer documenting bordello life in 1917 New Orleans marries a child fated to turn prostitute at age 12. Rated R. $4, $3 CMA members

23 May/Thursday

Highlights Tour 1:30 CMA Favorites Gallery Talk 2:30 Transformations in Cleveland Art. Nancy McAfee

24 May/Friday Highlights Tour 1:30 CMA Favorites

25 May/Saturday

Drop-In Parade Workshops 1:00-4:00. Fee; see Wednesday the 1st for details Highlights Tour 1:30 CMA Favorites

26 May/Sunday

Gallery Talk 1:30 Transformations in Cleveland Art. Nancy McAfee

Film 1:30 My Dinner with Andre (USA, 1981, color, 110 min.) directed by Louis Malle, with Wallace Shawn and Andre Gregory. Funny, moving, hypnotic film in which down-to-earth actor-playwright Wallace Shawn and flighty avant-garde theatre director Andre Gregory discuss the meaning of life. $4, $3 CMA members Drop-In Parade Workshops 2:00-5:00. Fee; see Wednesday the 1st for details Paper Masks 2:00-5:00. Did you wait too long to start but still want the opportunity to march in the parade? Join us at any of these workshops and make simple but effective masks and accessories from cut and folded paper. Pay single fee of $5 individual or $12 family or attend all for the drop-in series rate of $15 person, $35 family

Handmade Musical instruments 2:30-4:30. Add some sound to your life. Craig Woodson helps you make instru- ments from household materials. Free to anyone registered for the drop-in parade workshop series or pay single-session fee of $5 individual, $12 family

Programs

28 May/Tuesday Highlights Tour 1:30 CMA Favorites

29 May/Wednesday

Noontime Recital 12:00 Kare/ Paukert, organ

Gallery Talk 1:30 A Walking Tour of Uni- versity Circle Sculpture. Dale Hilton Various Parade Workshops6:30-9:30. Drop-In Workshops, Paper Masks, Hand- made Musical Instruments. Fee; see Wednesday the 1st and Sunday the 26th for details

Film 7:30 Au Revoir les Enfants (France/W. Germany, 1987, color, subtitles, 103 min.) directed by Louis Malle. Poignant, autobio- graphical drama set in a Catholic school during WWII, where a young boy befriends another child with a mysterious past and an assumed name. $4, $3 CMA members

30 May/Thursday

Highlights Tour 1:30 CMA Favorites

Film Festival Opening 1:30 Cleveland Silver Images Film Festival. Three short films that celebrate long life: The Bath (Canada, 1992, color, 8 min.) directed by Jodee Samuelson; Notes (USA, 1994, color, 13 min.) directed by Kevin Segalla; and the Oscar-winning Young at Heart (USA, 1986, color, 28 min.) directed by Sue Marx and Pamela Conn. Special admission $5, $4 CMA members and seniors. Price includes a reception after the screening

Gallery Talk 2:30 A Walking Tour of Uni- versity Circle Sculpture. Dale Hilton

31 May/Friday Highlights Tour 1:30 CMA Favorites

Members News

Director’s Circle Members

The Director’s Circle is the oldest of the museum’s five donor categories of membership. Benefits include recep- tions held in conjunction with major exhibitions, a be- hind-the-scenes tour with the director, and a selected museum publication. Members contribute between

$1,000 and $2,499 annually.

Mr. and Mrs. Paul R. Abbey Stanley and Hope Adelstein

The Allen C. and Louise Q. Holmes Foundation

Mr. and Mrs. Lawrence D. Altschul

Dr. Robert E. Applebaum Elizabeth L. Armington

Mr. and Mrs. Douglas N. Barr

Mr. and Mrs. Richard E. Beeman

Dr. and Mrs. Ronald H. Bell Robert B. Benyo, M.D.

Bert and Iris Wolstein Foundation

Mary Bittenbender

Richard J. Blum and Harriet L. Warm

Richard J. Bogomolny and Patricia Kozerefski

Mr. and Mrs. Charles P. Bolton

Mrs. Morris A. Bradley II

Mr. and Mrs. Edward B. Brandon

Helen E. Brown Stephen and Lesley Brown

Linda R. Butler and Steven E. Nissen

Mr. and Mrs. William E. Butler

Mr. and Mrs. William R. Calfee

Margaret Lang Callinan Mrs. Sumner Canary

Assistant Curator of Paintings David Steinberg dis- cusses an 18th- century American painting during a Director's Circle tour of gallery 237, reinstalled last year.

MAY 1996

Mrs. Arthur F. Carey

Dr. and Mrs. Webb Cham-

berlain

Dr. William A. Chilcote, Jr., and Dr. Barbara S. Kaplan

Corning Chisholm Lead Trust

Mr. and Mrs. Joseph Burt Clough

Mr. and Mrs. Earl V. Cochran

Mrs. Ralph A. Colbert Dr. and Mrs. John Collis George B. Coombe

Dr. and Mrs. Delos Marshall Cosgrove Ill

Mr. and Mrs. Thomas W. Cristal

Mr. and Mrs. David E. Davis

Dr. Reginald P. Dickerson

The Edward and Ruth Wilkof Foundation

Mrs. Frederick L. Emeny

Dr. and Mrs. R. Bennett Eppes

Mr. and Mrs. Raymond F. Evans

Mrs. Morris Everett

Mr. and Mrs. Warren W. Farr, Jr.

Ross and Verdeane Farro

Mr. and Mrs. Arthur L. Feldman

Mrs. George Foley

Mr. and Mrs. Edward H. Frost

Mr. and Mrs. Peter L. Galvin Eleanor Jones Gardiner Jane and Milton Garrett

Mr. and Mrs. Hugh R. Gibson

Mr. and Mrs. Robert M. Ginn Mrs. Arthur S. Goldsmith

Mr. and Mrs. Robert A. Goodman

Henry Green

Mr. and Mrs. William E. Gunton

Mrs. John A. Hadden, Jr.

Mr. and Mrs. Richard H. Hahn

Mr. and Mrs. Alfred W. Harris

Dr. and Mrs. Shattuck Wellman Hartwell, Jr.

Mr. and Mrs. Henry R. Hatch Ill

Mr. and Mrs. Oliver C. Henkel

Elizabeth A. Holan Mr. and Mrs. Roy H. Holdt

Mr. and Mrs. John Erwin Hollis

Mr. and Mrs. Allen H. Hook Carole Hoover

Dr. and Mrs. Scott R. Inkley Mr. and Mrs. Donald M. Jack, Jr.

John and Sivewright Carden Account of the Ernst & Young Foundation

Drs. Morris and Adrienne Jones

Mrs. R. Stanley Jones Trevor and Jennie Jones Mrs. William Powell Jones

William R. Joseph and Sarah J. Sager

Dr. and Mrs. Donald W. Junglas

Mr. and Mrs. Richard Kaplan

Mr. and Mrs. Joseph F. Keithley

Mr. and Mrs. Douglas A. Kern

Dr. and Mrs. William S. Kiser

Mr. and Mrs. Stephen J. Knerly, Jr.

Mr. and Mrs. Charles L. Knight

Mr. and Mrs. John D. Koch Lawrence and Helen Korach

Dr. and Mrs. Paul G. Koussandianos

Mr. and Mrs. Alan M. Krause Mr. and Mrs. Robert Larson Mr. and Mrs. Chester J. Lis William Estes MacDonald, Jr.

Adel Mahmoud, M.D., and Dr. Sally Hodder

Mr. and Mrs. Milton Maltz Jack N. Mandel

Mr. and Mrs. Joseph C. Mandel

Anne M. Manuel Mrs. David B. Manuel

Mr. and Mrs. Robert G. Markey

Dr. Harold and Suzanne Mars Drs. Betty and Osman Mawardi

The McCall Foundation

Mr. and Ms. Donald McCann

Mrs. Frederick S. McConnell, Jr.

Mr. and Mrs. S. Sterling McMillan

Mr. and Mrs. Stanley A. Meisel

Mrs. Milton E. Meyer Mr. and Mrs. Anthony R. Michel

Mrs. Alex Miller

Lester Theodore Miller Mr. and Mrs. William A. Mitchell

Mr. and Mrs. Conrad Morgenstern

Jane A. and Thomas W. Morris

Mr. and Mrs. Robert D. Neary

Mr. and Mrs. James A. Nelson

Mr. and Mrs. Francis Wynne Neville

Mr. and Mrs. Roger Noall Norton W. and Jackie Rose Philanthropic Fund of

the Jewish Community Federation

Mr. and Mrs. Kevin O’‘Donnell

Mr. and Mrs. Tod Oliva Mr. and Mrs. Harvey Oppmann

Mr. and Mrs. William McKinley Osborne, Jr. Mr. and Mrs. Henry Ott- Hansen

Mr. and Mrs. C. W. Eliot Paine

Paintstone Foundation Mr. and Mrs. Harold A. Phelan

Mr. and Mrs. Richard P. Price

Mr. and Mrs. Albert B. Ratner

Dr. Sandford Reichart Mrs. Hyatt Reitman

Mr. and Mrs. Robert K. Healy Charitable Fund

of the O'Neill Brothers Foundation

Robert and Margo Roth Philanthopic Fund of the Jewish Community Federation

Mrs. James J. Rorimer Dr. and Mrs. Ronald J. Ross

Mrs. Florence Brewster Rutter

Mr. and Mrs. Gilbert P. Schafer

Dr. and Mrs. Bruce Schermer

Mr. and Mrs. William J. Schlageter

Mr. and Mrs. Arnold Schreibman

Mrs. Ellery Sedgwick, Jr.

Mr. and Mrs. Oliver E. Seikel

Kate M. Sellers

Lester E. Sender

Dennis Sherwin

Kim Sherwin

Sue and George Sherwin

Mr. and Mrs. Asa Shiverick,

Ne. Mr. and Mrs. Joseph Shrier

Sidney and Isabelle Lobe Philanthropic Fund of the Jewish Community Federa- tion of Cleveland

Alvin and Laura Siegal Mrs. Daniel J. Silver

Mr. and Mrs. David L. Simon

Mr. and Mrs. Edwin Z. Singer

Mr. and Mrs. John E. Smeltz

Donald and Suzy Spitz

Mr. and Mrs. Charles Steigerwald

Dr. Timothy Stephens and Dr. Consuelo Stephens

Mrs. Paul Stocker

Mr. and Mrs. Harry H. Stone

Irving |. Stone

The Cleveland Museum of Art receives partial funding from the Ohio Arts Council, a state agency created to foster and encourage the development of the arts and to preserve Ohio’s cultural heritage. Funding from the OAC is an investment of state tax dollars that promotes economic growth, educational excellence, and cultural enrichment for all Ohioans.

The museum is also the recipient of a General Operating Support grant from the Institute o Museum Services, a federal agency. IMS grants are awarded to cultural institutions that demonstrate outstanding performance in all areas of operations.

Mr. and Mrs. Robert D. Storey

Dr. and Mrs. Ralph Straffon

James and Sandra Streicher

Mr. and Mrs. Arthur Stupay

Mr. and Mrs. Joseph D. Sullivan

Mr. and Mrs. Michael S. Sylvester

Mr. and Mrs. Seth C. Taft

John D. Thorp

Mrs. George S. Traub Mary Louise Vail

Dr. and Mrs. Daniel Verne

Mrs. Myron Viny

Mr. and Mrs. Michael Ward

Mr. and Mrs. David Haber Warshawsky

Mr. and Mrs. George Webber

Hannah and Michael Weil

Mr. and Mrs. Ronald E. Weinberg

Sally Weinberg

Mr. and Mrs. Charles D. Weller

Mr. and Mrs. Alton W. Whitehouse

Mr. and Mrs. Steven R. Wiesenberger

Mrs. Edgar R. Wilkinson The Hon. and Mrs. Milton Wolf

Mr. and Mrs. Alfred C. | Woodcock |

Mr. and Mrs. David L. | Zoeller

Dr. William F. Zornow

Members News

Take Note

Watch the upcoming summer magazine for details about an overnight trip to Philadel- phia on July 25 to view the Cézanne exhi- bition at the Philadelphia Museum of Art. Call ext. 598 for information.

Attention new members and old: With the approach of the 21st century, the mu- seum is revising accession numbers, those mysterious digits that appear at the end of gallery labels and captions for works of art. Until now, for instance, the number for the Monet painting on page 9 was 16.1014, meaning it was the 1014th work acquired in 1916. Now, to differentiate this work from those that might be acquired in the next century, the new accession num- ber becomes 1916.1014.

On May 23, the museum will host the local unveiling of a brand-new Georgia O'Keeffe postal stamp, inspired by her paintings of flowers,

The CMA volunteer tradition is strong. Many hands share the work and we cel- ebrate every contribution. One person we would like to thank especially is Betsy Hegyes, who is stepping down as Womens Council Information Desk Chairperson in May at the end of her year-long commit- ment. Betsy has been a model volunteer, unselfishly donating endless hours to pro- viding quality service and hospitality to our visitors. We are grateful to her.

Betsy Hegyes fields a phone call.

We would also like to take this opportu- nity to express the gratitude and admira- tion of CMA staff for the many volunteers who helped with the Pharaohs exhibition— staffing the information desk, audio tour, and visitor survey, as greeters, and as pro- moters of membership. If you would like to volunteer, call ext. 592 or 593.

Attention Young Scavengers. The annual Young Friends Scavenger Hunt will be held Saturday afternoon, May 11. Registration is 2:30-3:00 in the students room; the Hunt is 3:00-4:45 through the galleries and grounds; and a reception wraps it all up 4:45-7:00, with prizes, music, food, and drink. YF members pay $5; guests pay $15 (applicable to a YF membership, open to CMA members ages 21-40). Call Jennifer Roth at ext. 595 to RSVP.

Estate Planning Seminar

The Cleveland Museum of Art is hosting a free estate planning seminar on Thursday, May 16 at 3:00. This is an opportunity to hear from several experts in the field, in- cluding James R. Bright, J. Donald Cairns, and M. Elizabeth Monihan, all from the law firm of Spieth Bell McCurdy and Newell. Intended as a general information session, the seminar is geared to the layperson’s

Name

Street Address

level of familiarity with the law and will focus on issues to be considered in the process of creating a will, living trust, charitable trust, and related estate plan- ning documents. All members of the mu- seum are invited to attend. To reserve your place, please mail or fax (216/231-6565) the form below to Kate Sellers, director of development and external affairs.

places at the May 16 estate planning seminar

City, State, Zip code

Telephone

Members Magazine (ISSN 0890-6084)

Vol. 36 no. 5, May 1996. Published monthly except July and August by the Cleveland Museum of Art at Cleveland, Ohio 44106

Museum photography by Howard T. Agriesti, Gary Kirchenbauer, and Gregory M. Donley

POSTMASTER: Send address changes to the Cleveland Museum of Art Members Magazine at the Cleveland Museum of Art, Cleveland, Ohio 44106. Subscription included in membership fee. Second-class postage paid at Cleveland, Ohio

Dated Material Do Not Delay

The Cleveland Museum of Art 11150 East Boulevard at University Circle Cleveland, Ohio 44106-1797

Tel. 216/421-7340

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Admission to the museum is free

Gallery Hours Tuesday, Thursday, Friday 10:00-5:45 Wednesday 10:00-9:45 Saturday 9:00-4:45 Sunday 1:00-5:45 Closed Mondays,

July 4, Thanksgiving, Christmas, and New Year's Day

Telephone 216/421-7340

TDD: 216/421-0018 Museum Store 216/421-0931 Beachwood Place store 216/831-4840 Member Hotline 216/421-7340 x295

Museum Cafe Hours

Tuesday, Thursday, Friday 10:00—4:30 Wednesday 10:00-8:30 Saturday 10:00-4:15 Sunday 1:00-4:30

Museum Store Hours

Open during all regular and extended hours

pring is here

and so are these toiletries decorated with impressionist art from the museum’s

Ingalls Library Members Hours Tuesday—Saturday 10:00-gallery closing

Slide Library by appointment only

Print Study Room Hours Tuesday—Friday 10:00-—11:30 and 1:30-5:00

Parking

90¢ per half-hour to $7 max. in upper lot $3.50 flat rate in park- ing deck

Free to senior citizens all day Thursday

Free with handicapped permit

$2.25 flat fee every Wednesday after 5:00 Rates include tax

For Visitors with Disabilities Large-type brochure available in the north lobby. Borrow wheel- chairs at the check room

Wheelchair access is via the north door

Free assistive listen- ing system (ask at the north lobby

check room) for films and lectures in the Auditorium and Re- cital Hall—funded by a grant from Society National Bank

collection. Pamper yourself or someone you love with these invigorating fragrances, true to the era in which the art was created. Now available at the Museum Stores.

BOTANICAL H Axo & Bopy Lotion